Synopsis This colourful show tells the story of Gypsy Rose Lee, one of America's most famous Burlesque strip artistes from the 1920s. Everything's Coming Up Roses one of the hit songs, could not be further from the truth as Rose takes us on the tortuous journey from childhood ambition to final stardom for her much loved daughter and the enormous sacrifices on the way.
In many ways, the story of real-life burlesque star Gypsy Rose Lee is a bizarre one to turn into a musical. There’s no love interest to speak of, the biographical narrative is necessarily episodic and most of the journey isn’t actually about her at all.
In the hands of composer Jule Styne and lyricist Stephen Sondheim however, many of these obstacles are overcome. Their 1959 Broadway hit, with a compelling book by Arthur Laurents, includes showstoppers such as "Together Wherever We Go" and "Everything’s Coming Up Roses", and was a career landmark for its original star Ethel Merman.
Stepping into her shoes in this Curve revival – and with more than a hint of that grande dame about her – is Caroline O'Connor, a performer gifted equally with acting and singing talent, and with enough emotional punch to carry the biggest, most ambitious of roles as the pushy mother Rose. It’s a virtuoso performance that richly deserves the acclaim it wins from the audience, even if the character herself has few likeable or redeeming features.
There are lots of impressive supporting performances around her, adding depth and range to Paul Kerryson’s sure-footed production. Daisy Maywood sparkles as her all-singing, all-dancing daughter June, and David Fleeshman provides much-needed warmth and humanity in the shape of the press-ganged agent Herbie. There’s a fine spot, too, from Jason Winter as would-be hoofer Tulsa, whose wonderful solo rendition of "All I Need is the Girl" almost steals the first act.
Victoria Hamilton-Barrit, meanwhile, achieves an extraordinary transformation from second-best, wallflower daughter Louise to the supremely confident, world-conquering persona of Gypsy Rose Lee herself – always believable and shockingly manipulated by her calculating mother.
As ever, it’s a delight to hear a live band fuelling the score excitingly, and David Needham’s choreography, Sara Perks’s designs and Philip Gladwell’s lighting all do much to complement the atmospheric recreation of Depression-era America. And if the full package doesn’t quite grab you by the throat and shake your emotions to the core, then it isn’t for lack of effort on the part of this hugely entertaining cast and crew.
Such a disappointment. The lead could sing and the kids and dogs performed admirably in the opening half hour, but there were few other positives to take away.
The characters had no depth or subtlety, some of the accents were embarrassingly bad, and I had to keep pinching myself that I hadn't stumbled into a local Am Dram production. The set design was evocative of some mythical Norman Rockwell era rather than the grubby backstages of Vaudeville and Burlesque.
There was so much to explore in the complex relationships between Momma Rose and her potential fiancé and her two daughters, but it largely remained uncharted territory. By the end, I had come no closer to understanding what was driving this particular Momma Rose, or indeed feeling any emotion towards her, be it pity, sympathy or animosity. As one who is easily tear-jerked, why was I left unmoved by Rose's Turn?
When two semi-naked male dancers popped up, the feeling that we had now alighted at G.A.Y. rather than the Burlesque was reinforced by the shocking transmogrification of Louise into a Cheryl Cole lookalike.
It's rare to get a decent sound mix at a musical outside of the West End (and not always there), but the music here was nicely loud -- could be louder in fact -- yet the vocals were still crystal clear, so there, I've managed to find another positive.
All in however, this was a great opportunity missed. - Martin Barber
60 Rutland Street Leicester Leicestershire LE1 1SB
Telephone
0116 242 3560
Station
Description
Opened Autumn 2008. Curve features two auditoria, one with 750 fixed seats while a 350 seat auditorium will provide a versatile smaller space. When the 32 tonne steel walls separating the stage and the foyer are lifted, the stage will be visible from street level.
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